Palmetto Records has released Una Noche Inolvidable(An Unforgettable Night), a live recording of Jazz at Lincoln Center 's (JALC) renowned Afro-Latin Jazz Orchestra (ALJO) with leader Arturo O'Farrill. The CD was recorded in January, during the inaugural season at Jazz at Lincoln Center's new home, the Frederick P. Rose Hall.

The orchestra displays its energy and talent on this thirteen song production. Music Director Arturo O'Farrill believes strongly, " Our mission is to honor great works from Latin jazz masters, commission a new body of work for this genre and educate listeners on the impact of Afro Latin rhythms on jazz. We are deeply committed to groove and clavé so get ready to swing hard!"

The JALC Artistic Director, Wynton Marsalis adds: " We have great respect for the cultural legacy of Latin American composers like Chico O'Farrill, Mario Bauza and Chano Pozo." The ALJO became a resident orchestra at JALC in 2002. Touring internationally and bringing the rhythms of Latin jazz to places as far away as China, the large ensemble commissions new work and leads education events when on the road and at the Frederick P. Rose Hall.

This CD is a wonderful addition to any library of Latin jazz. Through its choice of innovative artists and careful attention to sonic value, the Palmetto label has been listed as one of the best jazz labels in the 2003 Down Beat Critics’ Poll along with Blue Note, ECM and Verve. Palmetto also supports artists who are often overlooked or are considered somewhat "left of center". This enables the label to help expand the boundaries and even the vocabulary of jazz, and also gives the artists the freedom they need to make great music. Palmetto truly believes the future of jazz is now.

Latin Jazz, what can I say - I love the excitement of the percussion and vibrancy of the horns. I typically enjoy good Latin music with very little exception. So, when I…

Latin Jazz, what can I say - I love the excitement of the percussion and vibrancy of the horns. I typically enjoy good Latin music with very little exception. So, when I received Layla Angulo's new release, Live at the Triple Door, I was excited and anxious at the same time.

Excited, because the person Layla Angulo is as sexy as mysterious; anxious, to see if the CD had what it took to make people get past her looks. I can only tell you Layla has and continues to pay her dues. Her webpage say's that Layla was born in Louisiana, and raised in a variety of locales - Boston, Los Angeles, and Seattle. Layla started her musical journey at the age of five, finding the saxophone at the young age of ten. By the time she was fourteen, Layla had begun performing at jazz clubs in Boston.

Finishing a formal music education, Layla continued her professional life in Europe. She took Spain by storm and continued gobbling up the cultural musicality’s of her new peers. Determined that she must lead her own band, her first release The Layla Angulo Sextet, combined the rhythms of Afro-Peruvian and Latin jazz, taking it into entirely new realms.

Layla and the band remain primarily in the Pacific Northwest, tantalizing audiences of all sizes. A recent highlight in her career, Layla shared the stage with Tony Bennet, at the 75th Anniversary Gala of the Paramount Theatre.

Layla's newest release, Live at the Triple Door, is a collection of mostly original arrangements, showcasing the band in a live recording. The inclusion of Eddie Palmieri's 'Muneca' pays homage to the artform that set Ms. Angulo in her musical direction. This recording clearly documents the leadership and musical capabilities of this dynamic young lady.

Layla's website suggests that she may very well be the only female saxophonist, composing her own music for a large band. This may be true, I cannot say - but she is certainly one of a handful of women instrumentalists performing in the Latin Jazz genre, and doing a terrific job at it.

]]>morrice.blackwell@gmail.com (Richard Gangi)Latin Jazz / Latin Funk - CD ReviewsMon, 28 Mar 2005 12:00:00 -0600Beyond the Sound Barrier by Wayne Shorter Quartethttp://jazzreview.com/cd-reviews/free-jazz-avante-garde-cd-reviews/beyond-the-sound-barrier-by-wayne-shorter-quartet.html
http://jazzreview.com/cd-reviews/free-jazz-avante-garde-cd-reviews/beyond-the-sound-barrier-by-wayne-shorter-quartet.htmlWayne Shorter, a legend, an icon, a teacher, philosopher, artist - all of the above. At 72, Shorter has been part of such bands as Art Blakey and the …

Wayne Shorter, a legend, an icon, a teacher, philosopher, artist - all of the above.

At 72, Shorter has been part of such bands as Art Blakey and the Jazz Messengers, the Miles Davis Quintet (Herbie Hancock era), and co-founded Weather Report. His many other projects are too numerous to list. Several projects which included his recent band members have led to the recording of Beyond the Sound Barrier.

Featuring pianist - Danilo Perez, bassist - John Patitucci and drummer - Brian Blade, this project is the result of several years of recording and touring which all began in 2002 with Footprints Live!. Shorter followed up this CD with a large ensemble tour resulting in the Grammy winning Alegria in 2003.

Beyond the Sound Barrier also a live album, is described by Wayne as a continuum to the above mentioned projects. This much time together has resulted in a maturity many bands never achieve. Verve staff writers call it 'improvisational telepathy'. Whatever it is, the result is wonderfully moving and meditational.

Wayne created an environment eliminating creative boundaries, with a vision of a new musical horizon as the end goal. The result is a fresh and exciting sound, which proves that Wayne Shorter was right, "if you let them, they will groove". Shorter says his music is making a statement 'about what life is', with most musicians wanting to play it safe on stage, typically playing their best stuff, ’I’ve got nothing to lose now, - I'm going for the unknown'.

I believe that Beyond the Sound Barrier may be one of the most important pieces of improvised live acoustic music ever recorded. A bold statement from a relatively unknown writer, I know - but I have listened to a lot of jazz in the last 35 years, much of it live, most of it in New York and L.A. (not bragging, just a lot of great opportunities to see and hear all the greats as they passed through). I have listened to this recording for the last month and I keep hearing new things, this is really complex music - performed by some very special people.

For those of you who are new to jazz, I am about to go out on a limb here. Like a right of passage, this CDwill open up a new view to the world of jazz improvisation for you. I hesitate to even use the word 'jazz', as this music is as much classically inspired as it is jazz. But do not just listen to it - instead, immerse yourself in it - and wash away boundaries that prevent you from traveling Beyond the Sound Barrier.

Dedicated to the people who have challenged barriers designed to stifle and eradicate value creation and human development. - Wayne Shorter

]]>morrice.blackwell@gmail.com (Richard Gangi)Free Jazz / Avante Garde - CD ReviewsMon, 28 Mar 2005 00:00:00 -0600Thats What I Say - John Scofield Plays the Music of Ray Charles by John Scofieldhttp://jazzreview.com/cd-reviews/soul-/-funk-jazz-cd-reviews/thats-what-i-say-john-scofield-plays-the-music-of-ray-charles-by-john-scofield.html
http://jazzreview.com/cd-reviews/soul-/-funk-jazz-cd-reviews/thats-what-i-say-john-scofield-plays-the-music-of-ray-charles-by-john-scofield.htmlAnother Ray Charles tribute. That's what I first thought, but after a listen - I had quickly come to realize that Sco had once again put his magic to the test.

Another Ray Charles tribute. That's what I first thought, but after a listen - I had quickly come to realize that Sco had once again put his magic to the test. John Scofield is one of the few guitarists that has a signature sound, in a time of a "let's all sound the same mentality".

I have been following the career of John Scofield from his first recordings. Twenty-something years later, I am still a big fan. Through all the phases of John's playing, Sco has kept a promise to deliver exciting, funky grooves with melodic and slightly outside guitar work. This tribute to Ray Charles, promises to be the CD that brings John to the masses.

That's What I Say is a collection of 13 tracks ranging from lesser-known Charles gems to some of his most signature tunes. The difference between this and other Ray tributes is Scofield and his distinctive style, as John manages to take this familiar music (for the most part), and contemporize it, while keeping true to the integrity we expect on his records.

Sco utilized his long time friends and band mates, Larry Goldings and Willie Weeks to set the backdrop for this star studded tribute. Guests making this a very special CD include Dr. John, Warren Haynes, John Mayer, David 'Fathead' Newman, and not least the great Aaron Neville, and others.

The tunes selected by Scofield for this project include the party-like "Sticks and Stones" (propelled by Golding’s Hammond B-3 wizardry), the tender ballad "Cryin’ Time," and the slow, steady groove of "Unchain My Heart (Part 1)." That’s What I Say closes with Scofield’s reverent, solo acoustic interpretation of one of Charles’ most beloved hits, "Georgia on My Mind". Fans will by this CD for this song alone.

If something inside of you is touched by the sounds of gypsy jazz, then you must listen to this release. Austrian born, Harri Stojka is as authentic as it gets. S…

If something inside of you is touched by the sounds of gypsy jazz, then you must listen to this release. Austrian born, Harri Stojka is as authentic as it gets. Surrounded by a musical family, Harri started to play the guitar professionally at age 6. Harri is now 47 years old and has played with the likes of Carlos Santana, Larry Coryell, John McLaughlin, Mike Stern, Birelli Lagrene, and others.

About, A Tribute to Swing, Stojka says, "I love old fashioned jazz music. I have always been fascinated with jazz music from the 1930s and 1940s". Harri's treatment of melody is wonderfully sincere, and his playing is liberating. Stojka's interpretation of 'Nuits De Saint-Germain-Des-Pres' and 'Nuages' reminds us why we love Django. Harri’s gypsy jazz guitar, made by Joseph Di Mauro of Paris in 1987, has a beautiful voice that fits perfectly into these arrangements.

Harri’s band provides a solid backing for this music. The rhythm guitar of Claudius Jelinek provides the chordal accompaniment to Harri’s ripping melodies. Ivan Ruiz Machado on bass, along with Heimo Wiederhofer on drums lay down a really swinging groove that separates this band from so many others in this genre. And it would be criminal to overlook the sweetness of Eva Berky's violin work. 'Nuages' is her showcase, BRAVO Eva.

'Swanee River', 'Limehouse Blues', 'Undecided, and 'Sweet Sue' provides an education in swing. The band’s ability to weave rhythmically between blistering solos and soulful melodies is no small accomplishment. Cuts like ‘J’attendrai’, ‘Avalon’, ‘Bei mir bist Du scheen’, and ‘ Schee is’ so a Ringlspu’ are wonderful reminders of the time that inspires Stojka. In his own words, "...a fantastic journey back to a time when jazz was most intense, purest, greatest, at least for me!". Stojka’s treatment of Sidney Bechet’s ‘Petite Fleur' will bring a tear to your eyes.

On 'A Song For My Daddy', Stojka displays his musical prowess as author. This original song has become my favorite piece in the collection. It allows you to take a trip to the very center of Harri's heart and soul, in this manifestation of a son’s love for his father.

Harri Stojka's new release A Tribute to Swing on the independent label Geco/Tonwaren Records offers jazz enthusiasts a rare glimpse of a musical lifestyle. Vienna journalist, Walter Richard Langer, commented; "Just like jazz, their (the Rom and Sinti gypsies) music was characterized by improvisation, straightforward and unfiltered expression and a cry for freedom and human dignity that could hardly go unheeded".

A Tribute to Swing is a musical treat for all jazz lovers. Those of you, considering yourselves to be ‘Django-heads’, will not be let down with this display of musicianship.

]]>morrice.blackwell@gmail.com (Richard Gangi)Other - CD ReviewsFri, 23 Jul 2004 03:09:17 -0500Gettin in the Groove by Ron Pirtle Quintethttp://jazzreview.com/cd-reviews/bebop-hard-bop-cd-reviews/gettin-in-the-groove-by-ron-pirtle-quintet.html
http://jazzreview.com/cd-reviews/bebop-hard-bop-cd-reviews/gettin-in-the-groove-by-ron-pirtle-quintet.htmlHard-Bop is alive and well, and the Ron Pirtle Quintet is living proof. Gettin' in the Groove is the real deal. Ron and the band have certainly…

Hard-Bop is alive and well, and the Ron Pirtle Quintet is living proof. Gettin' in the Groove is the real deal. Ron and the band have certainly spent countless hours getting these tunes tight, and the result is pure excitement.

Ron Pirtle leads this band from behind his upright bass. He plays with such enthusiasm and furry, that one never has to ask "where's the one ?". Ron is the hardest working bass player I have seen in a long time, and a favorite to the folks that are lucky enough to catch these guys play out.

Carl Hendrix, the senior member of this band has added a sense of professionalism and credibility to the otherwise younger members of the quintet. His playing is pure enjoyment. Stan Soloko has become my favorite local drummer. His timing is rock solid, and his solo's are always imaginative, he is a real pro. Paul Polanski and Brad Baker - what a team - these guys really blow. So if you are not a fan of bop, this is the killer compliment. The liner notes, written by Jack Simpson, say it all about these two - "we used to say it about Al and Zoot, Sonny and Gene, Jaws and Griff, 'these guys have played together before!' ".

Recorded Live at WUCF's Broadcast Studios in Orlando Florida, November 2002, engineer John Marsden has captured the full impact of this explosive band's delivery. The CD is as enjoyable at low volumes as when played with the dial pushed way high. Great job John.

Composed of mostly covers, or shall we say timeless classics, the band pays homage to Sonny Stitt, Dizzy Gillespie, Horace Silver, Duke Ellington, and others. Track 6, an original of piano great Carl Hendrix, really gives room for some swinging groove music that would have been a standard had it been recorded in the day. The selections on the recording demonstrate the bands range.

This is a great recording, which any jazz aficionado will play on heavy rotation. Ron has some .mp3 tidbits on his website. I am high on this one for a reason, go and see for yourself.

]]>morrice.blackwell@gmail.com (Richard Gangi)BeBop / Hard Bop - CD ReviewsWed, 10 Dec 2003 00:00:00 -0600Jazz Legend Teaches New Dogs Old Trickshttp://jazzreview.com/jazz-news/jazz-viewpoints/jazz-legend-teaches-new-dogs-old-tricks.html
http://jazzreview.com/jazz-news/jazz-viewpoints/jazz-legend-teaches-new-dogs-old-tricks.htmlIt was Monday night, and I was looking foward to the "Jazz Jam" at our local coffee house. I decided to see if any of the guys from my favorite music store, Guitar Haven, felt like having dinner. Co-Owner, Ted Katz, agreed that some ribs at Meg O'Malleys sounded too good to pass up, and off we went. Our conversation (over an ale) was surprisingly elevated as Larry Coryell came our way. Escorted by singer/songwriter Tracy Piergross and Paul Santa Maria, …

It was Monday night, and I was looking foward to the "Jazz Jam" at our local coffee house. I decided to see if any of the guys from my favorite music store, Guitar Haven, felt like having dinner. Co-Owner, Ted Katz, agreed that some ribs at Meg O'Malleys sounded too good to pass up, and off we went.

Our conversation (over an ale) was surprisingly elevated as Larry Coryell came our way. Escorted by singer/songwriter Tracy Piergross and Paul Santa Maria, Larry stopped by our table to say hello. Okay, maybe we ambushed him - either way, we were able to say hello and he invited us to sit with him.

After dinner, I invited Larry to have coffee with us, as I thought it would be a nice surprise for the guys at the jam. Larry had previously played with the bandleader, Bill Van Riper, and I mentioned that Bill would love to see him. I was right.

Larry decided to come by and the rest was magic. When the guys saw Larry arrive, the adrenaline kicked in and everyone scurried to find their best chops. After a few tunes, Bill asked Larry to come up and play a few. Larry obliged. The consumant expert, Larry calmed the boys down by calling the ballad, "Star Eyes," playing ever so layed back with every note sublime.

Feeling like the band had what it took to move on, Larry played a solo intro to "Bumpin on Sunset," which floored the place. Accompanied by Dan Latt on keyboards, Ron Pirtle on upright bass, and Jeff Abbot on drums, the band (and audience) were treated to a rare experience. Larry and company closed out the first set with a smokin version of "Autumn Leaves."

Paul had an amp in his trunk and brought it in during the break. Bill opened up the second set with Larry taking the lead on "Darn That Dream." This is one of my personal favorite ballads. Bill and Larry took turns treating the house to a beautiful exchange of improvisation. They upped the tempo and followed it up with a swingin' blues. Everyone got a chance to go around a few times. The scene was receptive. We all knew that something real special was going on in front of us.

A few standards later, Larry called up friend Paul Santa Maria. I immediately called out for one of Paul's original tunes, "Pascual Lives." This song is Paul's finest writing to date, proven by the fact that Wayne Shorter has taken it into several international settings with very positive feedback. Larry followed this up with an uptempo blues, calling changes to the guys and pushing the tempo to a frenzy. The house was alive with excitement.

Larry swapped places with Van Riper, resulting in a real battle of the licks between Bill and Paul. Larry again showed these guys how to push it up a notch. These guys were flying around the fretboard, as if this were a steel cage death match. When it was finished, there were smiles, hugs and a very happy group of witnesses.

Larry introduced the audience to Tracy, by calling namesake Tracy Chapman's "Gimme One Reason." Ms. Piergross responded with a smooth rendition of the tune, accompanied by Larry on a very jazzy set of changes. This was real special, as Tracy really demonstrated her sence of phrasing on this cover.

Late in the night, blues guitarist Steve Thorpe, wandered into the jam. He went up and displayed his chops for Larry in a jam with Paul Santa Maria, which was recieved with accolades. The magic just didn't quit. But like all special nights, which are rare jems for us to carry along, this evening came to an end with a few words from Larry to the audience, and other players. "Jazz is alive, and Melbourne has some great players." He was gracious, and gave us all a memory that will not be forgotten.